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The Cinema Screen as Prosthesis of Perception: A Historical Account - Susan Buck-Morss


Stephen O'Connor

on 15 February 2010

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Transcript of The Cinema Screen as Prosthesis of Perception: A Historical Account - Susan Buck-Morss

The Cinema Screen as Prosthesis of Perception: A Historical Account - Susan Buck-Morss
1907 "The Idea of Phenomenology"
Lecture series delivered by Edmund Husserl

Phenomenology is concerned with the relationship between a perceiving individual and the world that may be perceived. This relationship is not one between two separate realms connected by the sensory mechanisms of the individual but rather is one of inextricably linked aspects of the process by which we know anything. This process is one of ‘intention’, the conscious direction of sense-making faculties towards the surrounding world. The individual exercises intention to make sense of the world in perception, and is committed to “consistency building and the fabrication of rational experience”.
Phenomenological "Reductions" - using Apoditic and Eidetic operations to reach the universal essences of which a thought-object is made
Apoditic Reduction - "'Brackets' out both the actual material objects of the mental act and the psycological subject that thinks (or "intends") them by this act."
Buck-Morss 1996:46
Eidetic Reduction - "The reduced thought-object is examined phenomenologically, in order to see the universal essences of which it is constituted"
Buck-Morss 1996:46
L'arrivée d'un train à La Ciotat
1896, Lumiere
"Perception itself stands open to my inspection"
Husserl 1964:24
Le voyage à travers l'impossible
1904, Georges Méliès
1926, Pudovkin (dir)
An Act of Pure Seeing
"If we wish to have a vision of the pure object, this "self-given," "absolute datum," which is neither physical thing nor psycological fact but an "intentionally inexistent entity", we would do best to put down the text, leave the lecture and go to the movies"
Buck-Morss 1996:46
"The cinema image is an absolute given pure phenomenon in the phenomenological sense, renouncing anything transcendent"
Husserl 1964:49
The Cinema Screen as Prosthesis
"Phenomenologys insights are determined by those very specifics of the material and historical world which so threaten the phenomenological search for pure knowledge"
Buck-Morss 1996:60
"The Prosthetic organ of the cinema screen does not merely duplicate human perception, but changes its nature".
Buck-Morss 1996:48
"The code no longer refers back to any subjective or objective 'reality' but to its own logic"
Baudrillard 1975:127
A New Kind of Violence
"No reality could stand the intenstiy of the mass shown in cinema"
Podoroga 1990
Shaping the political imaginary
The Collective Desire
A New Kind of Subject
"There is not just an audience of a thousand (or million) now there is only one audience which sees and hears exactly as the camera and microphone do"
Pagmol cited in Virilio 1989:39
Nervous System: Hyper-sensation - Anaesthetized Body
Simulacrum: an image without the substance or qualities of the original
Oktybar. 1928, Eisenstein (Dir.)

The Seven Year Itch.
1955, Wilder (Dir.)
The Simpsons: Burns' Heir.
1994, Kirkland (Dir.)
Full transcript